SHORT MOVIE#

THE GREEN LIGHT

Director: Mikele Ferra

“The first moments after waking up are always alike. Each time you have the time to get scared”. Robertas is an ex paratrooper of the Red Army with an alcohol problem and post-traumatic stress disorder. It is a sudden awakening in an empty church that starts Robertas’ trip through the inside of that part of his past that never quits blending with the present; he needs to confront himself with his traumas that started out during his military service and that he still is unable to explain.
In this state half nightmare half hallucination, an unknown and cruel priest and a probable older alter ego named Fox take Robertas back to the barracks of the past. He finds himself doing press-ups, executing the same hideous orders, but it’s not like the repeating of the same nightmare, he rather realizes that for the first time he is actually facing the idea he had about the service that caused him all the suffering.
Idea according to which during the 2 years of service, a soldier goes through 4 phases, in which from acceptance of the suffering and abuse, a feeling of “higher status” starts to grow: the willingness of command and power towards other soldiers, and through this power, a soldier can bear pain, and finally defeat it.
Suffering and power, month after month one decreases while the other grows.. You do get beaten less because you have more rights to beat someone else. This is because the backbone on which the Army lies on is the principal of Fear. The newcomers’ fear towards the elder soldiers who represent the structure of power.
But time passing means that the end gets nearer, and this knowledge allows the elder soldiers to make pleasure out of suffering, thus entering the “beatitude state”.
Robertas’ reaction is a cathartic cry, the affirmation of “his” truth: one obtains beatitude only when one is a soldier, but when the Service is over, beatitude is over, too.
Suffering actually returns in the shape of a civil life that is no longer yours, of nightmares that don’t go away, of vodka, of that feeling of belonging that slowly fades away, living only a void, filled only by loneliness.
Just as if that paratrooper had really become an angel, because with the end of the Service, his identity as a man is gone too, and his last day as a paratrooper equals to his death.

THE MAMA

Director: Mikele Ferra

William has lost the baby girl. In order to find her back, he wanders around a post-modern Berlin looking for the "Mama", a well known woman who masters psychic powers and mind-reading arts. Once he gets into Mama's home, William is lead into a meta-physical journey, and guided by the incredible power of the lady, he will witness the vision of his own subconscious to finally meet his true self. The Mama has the power to control dreams and emotional energy of whoever sits close to her, and William, together with other strange guests and the house pet, a huge cat named Rufus, will participate in a group trance-like experience, sharing a common dream under the wise guidance of the lady. The thriller-like direction, the noir atmosphere of Berlin's interiors, and the intense visual and musical background, stress the all-feminine power witheld by the Mama and the other women who inhabit her home. The Mama is a movie about symbolism and emotion, which keeps a high level of suspance thanks to the strong direction, and a powerful alchemy of editing, lighting and sound design.

RAZZE

Director: Mikele Ferra

...cerca una scorciatoia, un’intercapedine, la piu` angusta possibile, per allontanarsi, ripeto, da un in loop interminabile, riuscendo in una particolare sicilianita` nella quale il “ primitivo “ conduce ad un futuro ermetico che comunque non scaturisce dall’eterno masochismo dei siciliani, razza perduta in una terra fantasma. L’incipit del video, ovvero “ la storia del tubo “, e` di fatto il percorso fetale che incatena l’uomo primitivo futuristico all’uomo primitivo originario, ambedue trattenuti, divorati, digeriti e infine espulsi dall’identico e opposto orifizio simbolico. Cio` che scorre attraverso il tubo, se esca fuori dalla bocca della donna verso il deretano dell’uomo, o in direzione opposta, poco importa, la sostanza ematica invisibile ad occhio nudo, che fluttua da un corpo all’altro, e` ricordo linfatico, pathos onirico che tutto distrugge, che tutto ricostruisce. L’azione - distruzione, la vita - non vita, il ricordo - speranza, ancora una volta il doppio contrario ed equivalente di cui siamo costituiti viene a galla al fine di stabilire una necessaria volonta` di disgregazione, dunque di calma, di riposo, che tristemente rifiuta di attuarsi, sia in se´, sia attraverso la volonta` dell’individuo. Nel caso di Razze l’individuo “ uomo primitivo “ oltrepassata la sfera della ricerca, misurandosi con il suo doppio, finisce col non riconoscersi, quindi si avvia necessariamente alla perdizione. Razze perdute, titolo originale del racconto di A. Ciaramitaro, dal quale e` stato tratto il video, vuole dimostrare questa tendenza dell’uomo siciliano, o ancora dell’Uomo, di perdersi nel tentativo di cercare una propria, privatissima identita`, che in realta` non esiste, e` puramente fittizia, caduca e infine dolorosa; ma il dolore stesso, superato il limite della fisicita`, si perde anch’esso, inserendosi nel cammino di un corteo funebre a seguito di una bara assente, in un paradosso nel quale la morte segue la morte. M. Ferra, a mio avviso, riesce a superare tale paradosso dialettico, instaurando in una cornice vorace, un nuovo senso del primitivo, la cui genuinita`, nonostante sanguinolenta, a volte sublime, difficile da raggiungere, si affianca alla speranza di un futuro ancora da inseguire, e comunque verificabile, attuabile. Il futuro genuino e crudele ipotizzato dal regista in questo video, il futuro della sua ex - terra, di quella che non ha mai accompagnato nessuno nelle proprie idee, piuttosto addossandosi il peso dei fallimenti e delle rinunce, degli inganni e dei dubbi, e` un futuro primitivo che si propone come punto di ripristino oltre il quale i mea culpa vengano disciolti nella fierezza della bestia pura, dell’animale umano che si spinge al di la` degli imbrogli linguistici nei quali la Sicilia si arrovella da secoli.

Actors crew Vincenzo Schillaci Milena Blunda Armida Marabella Giuseppe Sansone Giusva Pecoraino Nike Pirrone Fiammetta Oliver Chiara Marasa` Alice Lonardo

Camera operator Antonio Macaluso
Director of photography Dodo Veneziano/Giuseppe Sinatra
Scenography by Linda Randazzo/Vincenzo Schillaci
Production Nike Pirrone
(Voci campionate) da G. Verga Production

Thanks to Comune di Palermo Assessorato al traffico Comando Vigili Urbani Spazio Blanco Linda Randazzo Lorenzo Bertuglia Matteo Bavera Domenico Pellegrino Cristina

THE KING AND THE OTHERS

Director: Mikele Ferra

M.N. is a successful man with a perfect family and a fulfilling career. Nothing appeears wrong in his perfect life. But behind M.N.'s veil of normality is another reality which nobody, except himself, could ever know. It all started with a lost letter, sent to anybody who could possibly help, and with the tone and aim of a 19th century horror novel. M.N. is begging to be killed with as his only possible exit from captivity.

MENGALITC

Director: Mikele Ferra

Mangalithic is a fresh idea born from a spontaneous low budget collaboration, which has given us the inspiration to explore further the theme with a feature film format. We hope to have through your venue a window to the world and attract the right attention do develop our dream film and talk about what is hidden in our hearts.